Brielle Diskin explores the allure of the imaginary boyfriend in Marvel’s Wandavision through the lens of her own imaginary boyfriend.

Brianna Zigler writes on the dissonant ethics of Chloe Zhao’s Nomadland.

Emma Pirnay writes on boundaries and the French New Wave in Irma Vep.

Hannah Strong writes on sexual assault, Promising Young Woman and I May Destroy You.

Elle Haywood explores the legacy of Tove Jansson in Tove.

Katie Kirkpatrick writes on the softness of dystopia in Never Let Me Go and ‘Punisher’.

Jennifer Irving explores the intimate texture of the domestic through Carolee Schneemann’s work.

Lilia Pavin-Franks looks back at queer short film Rosebud.

Orla Smith explores a new wave of films depicting women coming of age in their 30s.

Rafaela Sales Ross explores nuclear families in dystopian times through two Sundance features.

Anahit Behrooz celebrates unrequited and self-sufficient love in To All The Boys I’ve Loved Before.

Rach Leong reflects on the repercussions of urbanisation and the meaning of “home” Cathy Yan’s Dead Pigs.

Emma Fraser writes on Carey Mulligan’s finest musical moments.

Cody Corrall explores the legacy of Joan Tewkesbury’s most influential work.

Lillian Crawford writes on the sensitivities of Pieces of A Woman, Still Processing and Promising Young Woman through a personal lens.

Emma Fraser meets One Night in Miami costume designer Francine Jamison-Tanchuck.

Rafaela Sales Ross celebrates the wonder of repeating outfits in The Broken Hearts Gallery.

Ella Kemp meets Julia Hart, director of I’m Your Woman.

Kristina Murkett offers a colour theory reading of Sean Baker’s Tangerine.

Rachel Pronger examines the remarkable life and legacy of documentary pioneer Ruby Grierson.